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Thylazine: The Australian Journal of Arts, Ethics & Literature                                                                                                                                #12/thyla12k-pd
AUSTRALIAN POETS SERIES 12
The Poetry of Peter Davis
Selected by Coral Hull

[Above] Photo of Peter Davis by Peter Davis, 2005.


I the bird catcher I a ghost for a host I the estuary bed I portraiture: using the colours of HIV I
I working in the liquor mart I cravings for a spectacular sun I


the bird catcher

Exhausted and with upturned hands, my four year old child ran until
he pivoted anxiously in the centre of a field and studied the midday sky.

His limbs and torso wobbled together like a puppet upon entangled strings.
When he reached a fence, he inspected horizons while running backwards.

Then he passed nearby, as if I appeared to be another blade of grass to him,
inside this large field of many cow patties and golden capped mushrooms.

His mouth was poised and reminded me of his attempts to blow every candle.
While his long hair leapt through the sunlight, he was shouting at the birds.

On this same day, just after dusk, when the birds had ceased their singing,
my child demanded a return of a routine: he wanted to be carried over again

from his bath - cocooned inside a soft warm towel - to our noisy Vulcan gas heater,
where I'd smooth lotion to cover the little rivers of blood that flow from eczema.

It was then that he described the eagle he saw from the field today: the way it fell
and how he worried that more birds may fall and whether he could catch them.

a ghost for a host

I do not believe that ghosts ever desire to be found or even feared.
They only turn on the heater when you're not at home just because
they wish to remember those articles of being alive: the five other senses.

I can see you ghost, as matter, as waste only being beautiful perhaps like memory
lilting inside light/ waving within the unstirred air and thinner in darkness like opal
whispering in colours/ shouting through your white silences/ or listening opaquely.

I have finally stopped asking plumbers to return and repair the same leaking taps,
and no longer stay over nights at a friend's home or take yellow pills for sleeping.
I can pretend to continue reading a book after the room temperature suddenly drops.
I never have tried to prevent you from floating contentedly above my sleeping infant.

I understand why you're here now: to be closer to those people who still live in a unit
next door: your brother and sister-in-law. They seem quite still and locked in their pain.
They both have dark-ringed eyes that slowly move and voices like driftwood in the fire.
They hinted, ghost, that you existed here and also the next tenant after you was no good.
They asked me not to stay away for days; so I would know to come home and feed you.

For you are gentle as a ghost, letting your thoughts stray and catch across my mind like
gossamer, drifting as if from eternity's womb. You're writing this poem together with me.
When this is finished, we could dance if you desire, ghost in a slow shuffling movement.
I shall compensate for your poor sense of direction and smile so goodwill is maintained.

the estuary bed

'Sleep no more/ for the old skin is shed/ upon the estuary bed/
the estuary bed/ the estuary bed.'
-- David McComb

We saw cuttlefish upon the sea and knew their floating
might indicate a faraway storm. The eels brushed against
our shins, while returning toward a muddy inland river
where each eel had been born, according to legend,
from one fallen strand of wild horse's hair.

We waded into rock pools in the safety of low tide.
Our tongues explored surfaces inside a shadow.
Minute fishes searched upon our bodies for food.
Then a shy albatross passed over us.

We felt childlike again in this renewing water.
Your kisses always seemed so intuitive; they blew
a life-giving breath in my mouth, nostrils and navel.

We were on our god-sized estuary bed.
I studied the multitude of fine hairs across your fingers;
thought they looked like the golden fields of nearby Corio.

We wondered if the libido could be known only in hints,
that our lover's perpendicular of soft shell might reveal.
We embraced and moved with small waves and the ripplets.

portraiture: using the colours of HIV

to keep straight he has a new habit in the evenings of staring at what is a model-perfect
bottom once again of an eighteen-year-older and this is only his arse which he is losing
for one new side effect of the HIV drugs is the redistribution of fat to other parts of the
body and now he can marvel again inside a mirror at his own hand-in-glove arse whose
transitory shape is swinging like a pendulum and whose moment of quintessential form
is blooming but in a reverse cycle and of course much slower than a flower however his
body fat moves onto his womanly breasts a beerless-beer-belly and finally hump-shaped
shoulders and then his face will become thinner also just like his arse and thus he yearns
equally for the existentialism of a lover's breath like the smell of rain upon hot pavement
and he listens instead to the loud voices of young backpackers who pass by his window
their tanned and three-acre calf muscles are pounding upon the pavement of Grey Street
St.Kilda and drunk he has visions again about his own death while caring for yet another
friend dying of AIDS in the 90's gay and maudlin listening to the symphonies by Mahler
and later the sounds of masturbation while visualising a male nude laying on floral sheets
and sometimes in his imagination he would again be kissing a seraph or his lover's ghost
and to do this he would kneel near the base of a great mythical tree whose huge and bare
branches would exude a white sap dripping over them or perhaps within his imagination
he became again a sea monster who in a legend gnawed upon the keels of passing ships
and in doing so had consumed the sexual prowess of lonely and almost fearless sailors
and soon after these visions he will visit the local gay sauna where on Tuesdays it costs
only fifteen dollars for a disability-support-pensioner perhaps while he is waiting for a
fresh towel and condoms he leans forward and writes his first name on the receipt list
this he must do before being given a locker key it is then that he notices many others
whose names upon that list were each written beside fifteen dollar figures like himself
and he could feel almost at ease then within those dimmed and cool rooms with being
HIV positive glad to be giving-receiving tenderness while outside a globe is warming
in the cubicle he stares at the stranger now sleeping whose chest undulates like the sea
his arm is numb beneath the weight of the tired man and his faith wanders like a child

working in the liquor mart

for the money my muscles will feel hot
almost as if I'm working near to a forest fire
and the wind is continually shifting
following me as I try to zig zag through
fears of: unemployment recession depression

I wonder if my body can last and then
later on my mind feels calmer somehow
deeper within the physical exhaustion
less time to write creatively and play with my son
I can work and dream though

I like to visualise
buying him a piano
a fawn coloured shiny new piano
on which he can play
his own melodies and perhaps
the blues when the days are long
when the world has changed irrevocably

cravings for a spectacular sun

The first bird to sing before dawn is bravest:
barely able to see, slowly rotating its neck. You
should subtract by one, the number of persons
suggested for a tent. An ancient saying,
'Where once was fire, there may still be hot coals'.
My ex-lover lies asleep in warm ash.

I like to watch clouds of unknowing tear into
mist 'cause of the trees high in the alpine-
peeling bark from rotten twigs, piling leaves
and choosing to burn first the daily news.
Campfire meditation: the prettiest orange
seen by humans was through the trees at sunset.

About the Poet Peter Davis

Peter Davis is a freelance writer and radio documentary maker. He is studying writing and editing at RMIT. Peter has had two plays produced: 'Letting in the Lion', Universal Theatres 1995, and 'Positively Everything', broadcast over 6 weeks on national community radio program, 'Out and Out.' He won the Community Broadcasting Association of Australia award in 1995 for best Information documentary for 'The Joan Golding Story'. He has produced regularly as a freelancer for ABC Radio National including 'Poetica' and 'Radio Eye'. He co-produced a documentary about hermits for Radio Eye in 2005. Peter lives in a small town in Victoria; a place where he can walk a few minutes down the road and be in a bit of forest.
   [Above] Photo of Peter Davis by Peter Davis, 2005.

I Next I Back I Exit I
Thylazine No.12 (June, 2007)

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